Carthage

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Aiguière en terre cuite ornée d'un décor, dans les tons rouges, varié et d'une grande finesse: en bas de minces filets circulaires et une ligne de flots; au milieu une large bande ornée de rinceaux; autour de la panse, une branchge d'arbuste à feuille s termine par une fleur. Le bas de l'anse repose sur la tête en relief d'un personnage portant une chevelure, une barbe et des moustaches opulentes. (H. 31 cm, nécropole des rabs, Carthage, IV siècle av. JC, musée de Carthage)

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Polychrome glass paste amphorae, inspired by Greek and Hellenistic models. Carthaginian glassmakers began producing them as early as the 7th–5th centuries CE; Carthage Museum.

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Head of Demeter Kernophoros with regular features, surmounted by a tall, hollow-inside polos (H. 35 cm, Sanctuary of Salammbô, Carthage, mid-2nd century BCE, Carthage Museum).

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A votive stele made of gray limestone bearing an inscription, beneath which is engraved the face of a teenager clad in a chlamys, whose still, distant gaze seems to be questioning the invisible world. The remarkable intensity of the expression can be compared to Greek or Hellenistic art (H. 75 cm, W. 16 cm, 3rd century BCE, Tophet, Carthage, Carthage Museum)

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A votive stele made of grayish limestone that stands out from most other steles due to its rectangular shape, its design, the absence of a pediment and acroteria, as well as any other decoration aside from the so-called “Tanit symbol,” which is not incised but carved in bas-relief. While the triangle with a circle resting on its apex is certainly present, the bar above it ends in a semicircle—evoking a crescent—rather than taking on the fairly common anthropomorphic form created by the addition of connected arms. The dedication is in honor of Tanit and her consort, Lord Baal Hammon. This stele confirms the Punic people’s preference for geometric figures and symbolic imagery: the so-called “sign of Tanit” resembles the Egyptian “ankh” and shares its vital significance. Although we possess more than 7,000 stelae (including 1,000 at the Louvre) and more than 6,000 dedications, depictions of Tanit and Baal Hammon in forms other than their symbols are extremely rare (H. 59 cm, W. 33.5 cm, Tophet, Carthage, 4th century BCE, Carthage Museum).

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A red-figure plate known as the "Genucilia" plate, believed to originate from Caere (a major Etruscan city), decorated with a female head seen in profile (late Etruscan, 4th century B.C., Carthage Museum).

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The Wedding of Neptune and Amymone—5th century A.D. Carthage Museum

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Verseuse d'eau dans une roseraie - V siècle ap. Musée de Carthage

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La dame de Carthage - V siècle ap. Musée de Carthage

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A Lady's Toilette - 5th century A.D. Carthage Museum

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Satyre seduisant une bacchante, groupe statuaire en marbre blanc Musée de Carthage

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Statue of Ceres, the name given by the Romans to the great Greek goddess of fertility, Demeter, whose cult had been introduced to Africa by the Carthaginians in 396 B.C. Carthage Museum

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A mosaic fragment depicting a triton, part of a large 5.10-meter-long floor mosaic celebrating the wedding of Neptune and Amymone. Triton is depicted here as a powerfully built figure, wearing crustacean claws on his forehead and holding a cornucopia from which flowers and a pinecone emerge. (Sidi Ghrib; early 5th century, Carthage Museum)

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Marble sculpture depicting Aesculapius and Telesphorus. Aesculapius, recognizable by the serpent coiled around a staff, is depicted bare-chested and wearing a modius. Telesphorus, a healing god worshiped alongside Aesculapius, wears a garment with a hood covering his head, Carthage Museum

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Funeral bas-relief in stucco. The reclining figure is shown reading, a motif frequently used in funerary art that tends to evoke the intellectual qualities of the deceased. Museum of Carthage.

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Bas-relief funéraire en stuc figurant une femme en train de se faire coiffer. Cette scène illustre la place importante que la toilette occupait dans la vie quotidienne de la femme, en Afrique, à l'époque romaine. Début du IIème siècle ap JC, Musée de Carthage

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Early Christian terracotta tiles measuring 25 to 28 cm on each side that lined the walls and ceilings of Christian basilicas. Dating primarily from the 6th and 7th centuries, they feature molded or stamped relief patterns that have been painted: biblical themes and symbolic animals (deer, lions, griffins, etc.). Carthage Museum.

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La mosquée El Abidine de Carthage est située au-dessus de la ville de Carthage. Elle est érigée au lieu-dit « La Colline de l'Odéon », au cœur du site archéologique de Carthage. Ouvert en 2003, l'édifice comporte une salle de prière pouvant accueillir 1 000 fidèles, une cour intérieure couvrant 1 500 m2, une esplanade de 2 500 m2 et un minaret d'une base de 9 mètres et haut de 55 mètres.

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Interior of St. Louis Cathedral in Carthage

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Statue de Déméter en terre cuite, presque grandeur nature, assise sur un trône en posture divine, vêtue d’une robe plissée, la tête coiffée d’une tiare cylindrique en forme de boisseau ou polos, et encadrée d’un voile rigide évoquant une conque. Son culte et celui de Coré furent officiellement introduits à Carthage en 396‑av. J.-C. pour réparer la profanation d’un de ses temples à Syracuse. Très présente dans les sanctuaires ruraux du Cap Bon, on l’y trouve tantôt associée à Baal Hammon et Tanit , tantôt accompagnée de ses parèdres Coré et Pluton, comme à Korba. Elle semble porter la réminiscence d’un modèle dû aux coroplathes siciliens des IVe-IIIe siècles av. J.-C. ( sanctuaire rural près de Korba , fin‑IVe-début IIIe siècle av. J.-C., musée du Bardo ).

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A ceremonial bronze breastplate of Campanian or Apulian origin, consisting of a front plate bearing a helmeted head of Minerva and an ornately worked back plate. This cuirass was likely brought back from the Italian campaign by a soldier in Hannibal’s army who wished to keep it with him in his tomb (H. 30 cm, tomb in the Ksour-Essaf region, late 3rd century B.C., Bardo Museum). Punic Section—Bardo Museum

A14-38

Stèle en calcaire, en forme d’obélisque, portant un décor gravé représentant un prêtre ( kohen ), vêtu comme ceux d’Égypte d’une robe de lin transparente et coiffé du bonnet cylindrique des kohanim. Sa main droite est levée dans un geste de prière, et il tient sur son bras gauche un enfant qu’il s’apprête à sacrifier selon la conception traditionnelle du tophet, ou à «restituer» à la divinité selon des interprétations récentes. Le fronton de la stèle est orné du disque solaire et du croissant ( symboles de Baal et de Tanit ) surplombant deux dauphins qui évoquent l’Océan céleste. Cette stèle est l’un des arguments principaux de ceux qui pensent que des sacrifices d’enfants étaient effectués dans le tophet ( H. 120 cm, tophet de Carthage, IIIe siècle, musée du Bardo ). Section punique - musée du Bardo

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A terracotta lion-headed goddess depicting Tanit, identified thanks to a Roman coin dating from 46 B.C., on which she appears accompanied by the initials G.T.A. (Genius Terrae Africae, spirit of the land of Africa). As the personification of Africa and the ruler of its destiny, she was all the more suited to take on the lion’s head, since the king of the animals and the forces of nature has always been one of the continent’s essential symbols (H. 150 cm, W 46 cm, D 36 cm, Thinissut sanctuary, near Bir Bouregba, 1st century A.D., Bardo Museum). Numidian Section—Bardo Museum

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Epitaphe de la prêtresse Batbaal, cheffe du clergé. Calcaire métamorphisé noir. Musée national de Carthage

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National Museum of Carthage

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